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ABSTRACT Various compositional problems and opportunities may accompany the return of a main theme that has a non‐tonic opening. There are four overlapping strategies for approaching such ‘off‐tonic returns’: (1) the thematic return may be preceded by V of the main key; (2) the returning theme...
ABSTRACT Schenkerian analysis is a problematic tool for the analysis of early modernist music, not least because its deep‐level theoretical and hermeneutic dependence on the Beethovenian heroic style is at risk of predefining the outline of a hermeneutics of other music. By bringing the Ursatz...
ABSTRACT A defining feature of Viennese ballroom minuets in the second half of the eighteenth century is the marked contrast between the first and second minuet (commonly called the trio). The type of contrast was standardised within a rather narrow and predictable range. Minuets were loud,...
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